In the follow-up to the explosive global graffiti documentary Bomb It, director Jon Reiss takes audiences to previously unexplored areas of the Middle East, Europe, Asia, the United States and Australia on a hunt for innovative street art and artists.

In the Middle East, Reiss talks with Muhnned Alazzh in the West Bank where Alazzh emphasizes the cultural and political significance of writing on the wall in the Palestinian refugee camps. To Alazzh, graffiti and street art have no place on the barrier between Israel and Palestine because they distract the public from “ugliness of that wall”.
In Jakarta, Indonesia, Darbotz’s work is heavily influenced by his study of semiotics. Instead of applying a signature to his pieces, Darbotz paints his signature squid monsters in black and white, to distinguish them from the explosion of color on the Jakarta streets.
In Singapore, Reiss connects with street artists Zero and Killer Gerbil, who explain the paradox of doing graffiti in one of the most highly policed states in the world. Despite the serious risk of fines, jail time and canings, the friends explain why getting their message out through their art work is more important than suffering the possible legal consequences.